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Behindwoods Visitor Abhinav Prashant |
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In
the very first scene, we realize that
this is yet another Tata Sumo villain
movie. The opening action sequence in
the hospital is to clearly establish that
the villain is in complete control of
Chennai. This is predictably followed
by another build up for the star hero
who is miles away. The start clearly cautions
the audience that they in for an absolute
mass masala formula film. But whoever
defined this as gravity defying stunts
and logic less flow of sequences?
Multiple production house ventures are
common in the western world – either
to just spread the risk of the venture
or because of what each one can bring
to table. When you notice that three producers
including a few big names are involved
in Singam, you sit up to see something
engrossing.
The film begins in typical Hari fashion.
There are a few permanent fixtures in
Director Hari’s movies. A joint
family set in a remote village in south
Tamilnadu, villains sporting around in
SUV’s, a racy script and a school
uniform clad heroine. While in Singam
you see the joint family and the Tata
Sumos, the racy script is missing. And
obviously a school uniform for Anushka
would have been outrageous – although
in the song sequences she is clad in lesser
clothing that that!.
Singam is Suriya’s 25th film and
the third consecutive film to pamper his
star image. He is
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one of the few actors who are trying to balance being
a star and an actor. But his script selection is surprising.
In a weighing scale, equilibrium is maintained only
when a person adds the weights on both sides alternatively.
If the person places all the weights on one side first
the weighing scale will face the danger of breaking.
Suriya is in a similar position. Taking Singam into
count, his last three films have attempted to perpetuate
his image as an action hero who can beat up 100 men
at a time – without getting hurt. Why can’t
he do commercial films alternating them with more
intense performing roles?
To be fair, he shows same level intensity in every
role he assumes. While chasing a person, his focus
on running and getting hold of the target’s
heel is amazing. But he has stock reactions in the
romance sequences – he has done that before.
As they say -The film is an episode in a police officer’s
diary. The first half is completely unsatisfactory
and makes one think that the director has hit saturation.
But the later part leading to the climax is better.
Unfortunately the confrontation between the hero and
Prakash Raj begins at a time when most of the crowd
has lost hope. The numbering of pages in script is
flawed and the screenplay could have been much better.
After the interval the film begins to satisfy but
one feels the intelligence has been adapted from Anjathey
and his own Tamizh – not to mention the Sami
hangover. It is relieving that the film at least takes
some shape.
The chemistry between the lead pair is zero. Prakash
Raj is an awesome counter to Suriya – although
with the same get up, same set of goons as seen before.
Maybe they should do more films together. The comedy
by Vivek is a lot of his usual stuff.
With Devi Sri Prasad handling the music department,
one does not expect heavenly melodies. As a result
the songs are tolerable and they are in the predictable
places in the narration. As mentioned earlier they
constitute interesting music bits which play a vital
role in publicity.
Bottomline: A better screenplay could have deceived
more people.
Abhinav Prashant
abhinavp92@gmail.com
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| Tags
: Singam,
Hari,
Suriya,
Anushka,
Prakashraj |
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